This indispensable manual for present-day players of the one-keyed flute is the first complete method written in modern times. Janice Dockendorff Boland has compiled a manual that can serve as a self-guiding tutor or as a text for a student working with a teacher. Referencing important eighteenth-century sources while also incorporating modern experience, the book includes nearly 100 pages of music drawn from early treatises along with solo flute literature and instructional text and fingering charts. Boland also addresses topics ranging from the basics of choosing a flute and assembling it to more advanced concepts such as tone color and eighteenth-century articulation patterns.

The author, G. J. Chaitin, shows that God plays dice not only in quantum mechanics but also in the foundations of mathematics. According to Chaitin there exist mathematical facts that are true for no reason. This fascinating and provocative text contains a collection of his most wide-ranging and non-technical lectures and interviews. It will be of interest to anyone concerned with the philosophy of mathematics, the similarities and differences between physics and mathematics, and mathematics as art.

THE FORMATIVE TENDENCY I have often pointed out that in my work with individuals in therapy, and in my experience in encounter groups, I have been led to the con viction that human nature is essentially constructive. When, in a ther apeutic climate (which can be objectively defined) a person becomes sharply aware of more of his or her internal experiencing and of the stimuli and demands from the external world, thus acquiring a full range of options, the person tends to move in the direction of becoming a socially constructive organism. But many are critical of this point of view. Why should such a positive direction be observed only in humans? Isn't this just pure op- · . ? timi sm. So quite hesitantly, because I have to draw on the work and thinking of others rather than on my own experience, I should like to try to set this directional tendency in a much broader context. I shall draw on my general reading in the field of science, but I should like to mention a special indebtedness to the work of Lancelot Whyte in The Universe of Experience (Harper and Row, 1974), the last book he wrote before his death. Though the book has flaws, in my judgment this historian has some thought-provoking themes to advance. I have learned from many others as well.

Giacomo Meyerbeer remains an enigma. Until the First World War he was one of the most famous of all composers. this Reader hopes to reflect something of the immense fame, prestige and love in which this composer was once held, the voices of doubt and dismissal that began to be heard even in his lifetime, and the enduring witness to his fame and worth evinced by those who have continued to believe in him in the face of the encroaching collective disparagement. Since the centenary of his death in 1964, there has been growing rediscovery of his life and re-evaluation of his art. While the revival of his work is not universal, at least a slow but steady process of recovery and exploration has begun.The forty contributions chosen for this Reader follow a chronological course, from the days of Meyerbeer's international acclaim after the premieres of his first two French operas, through the critical discussion of his art that began to take place during the mid-years of the nineteenth century, to the growing hostility induced by the advent of Wagner and his ideological following. The line of enquiry then leads into the dark days after the First World War when critical hostility was at its peak, on to the more reflective mood emerging during the 1950s, to the period of reassessment heralded by the centenary of his death in 1964. Finally, it surveys the critical rediscovery that was initiated by the bicentenary of his birth in 1991, a process that is still developing apace.The Reader also presents a series of portraits of the composer, and some images from his operas, an icongraphical commentary running parallel to the texts.

Meskimmon asks why women artists were left out of the canon of German modernism, tracing the reasons to the construction of a unified (male) history of art that in effect denied women a voice. The book is an effort to reconceive the period's art history and the perspective of the Weimar woman artist.

This Student Edition of Brecht's classic dramatisation of the conflict between free enquiry and official ideology features an extensive introduction and commentary that includes a plot summary, discussion of the context, themes, characters, style and language as well as questions for further study and notes on words and phrases in the text. It is the perfect edition for students of theatre and literature Along with Mother Courage, the character of Galileo is one of Brecht's greatest creations, immensely live, human and complex. Unable to resist his appetite for scientific investigation, Galileo's heretical discoveries about the solar system bring him to the attention of the Inquisition. He is scared into publicly abjuring his theories but, despite his self-contempt, goes on working in private, eventually helping to smuggle his writings out of the country. As an examination of the problems that face not only the scientist but also the whole spirit of free inquiry when brought into conflict with the requirements of government or official ideology, Life of Galileo has few equals. Written in exile in 1937-9 and first performed in Zurich in 1943, Galileo was first staged in English in 1947 by Joseph Losey in a version jointly prepared by Brecht and Charles Laughton, who played the title role. Printed here is the complete translation by John Willett.